Louise Stiernstedt was born in Uppsala and was a drawer and graphic artist.
After studying at the Technical School from 1895 to 1896 and at the Royal Swedish Academy of Fine Arts in Stockholm from 1897 to 1893, Stiernstedt continued her training at various schools in Italy and Munich.
Stiernstedt was a skilled wood and linoleum cuter and her art consists of portraits, landscape motifs and still lifes. She's represented at the National Museum.
Image description: Louise Stiernstedt, Landskapsskolan vid Konstakademin, Stockholm, 1898. Back row: Helene Herslow, Astrid Kjellberg, Esther Salmson, Louise Stiernstedt, Mathilde Wigert, John Österlund, Manne Hallengren, Seth Nilsson. Front row: Herman Österlund, Professor Per Daniel Holm, Hildur Hult.Photo: Unknown photographer / UUB. [The image is cropped] Click here for an uncropped image
Manne (Gustaf Emanuel) Ihran initially took over his father's, tailor Erik Ihran's business in Uppsala, but came through contact with the artists Olof Thunman and Gusten Widerbäck to increasingly take an interest in artistic activities.
From the left: Gusten Widerbäck, Olof Thunman and Manne Ihran, ca 1910-ca 1920. Photographer: Unknown / UUB.
Drawing of Uppsala Castle from 1914 made by Manne Ihran. Photo: UUB.
His circle of motifs is completely bound to Uppsala and its surroundings, such as buildings, backyards, trees and the harbour.
Manne Ihran painted in true national romantic spirit and the mood pictures of Stora Torget with the Svedbergian house from 1905 belong to some of his most famous works.
Rune Hammarling took correspondence courses in drawing and painting and went as an apprentice at restorer Alf Hedman in Gävle where he worked for 17 years.
In 1981 he attended a restorer training in Copenhagen and started his own business two years later.
Hammarling has restored medieval paintings in a number of Upplandic churches and also the 1900-century paintings in Uppsala Cathedral, the University House's Aula, Carolina Rediviva, Geijersgården, as well as a number of student nations and castles in Gävle and Västerås.
Emma Schenson was probably the first female photographer in Uppsala and one of the first women in Sweden to photograph professionally.
She was first trained as a watercolour painter, but worked from the 1860s in parallel with both painting and photography. During the childhood of photography it was unusual for women to photograph professionally, but after the regulation for freedom to pursue a trade from 1864, it became possible for women to establish themselves as entrepreneurs and photographers.
Schenson was active in Uppsala from 1860 onwards and had a permanent studio on Östra Ågatan 25. In the Photographic Association, which organized photographers, there were in 1888, three female members of a total of 65. These women were Anna Hwass, Wilhelmina Skogh and Emma Schenson.
During Schenson's productive years, the business card photograph as well as the larger cabinet photograph (format approx. 12 × 16.5 cm) became very popular in all social classes. There are very likely pictures in older Uppsala families performed by her.
The Block Domen, Fyristorg and Uppsala Cathedral, Fjärdingen, Uppsala before 1885. Photographer: Probably Emma Schensson, Uppsala / Upplandsmuseet.
"The Geezers of the Svartbäcken creek" in Kvarnfallet at Akademikvarnen, the quarter Holmen, Uppsala 1880–1890s. Photographer: Emma Schenson / Upplandsmuseet.
During the years 1885-1893, Emma Schenson documented the great restoration of Uppsala Cathedral. Through her images we can follow the restoration from start to finish.
There are currently no negatives preserved from Schenson's photographs, but some photos have been preserved and are available today in the map and picture collections at Uppsala University Library.
There is also an album that shows the cathedral's transformation during the time of the great restoration. Early on, the value of this photographic documentation was realized, which can be seen in an inscription in the Schensons album, which ends "alone in its kind and important for the future". The photographs that are preserved, are a remarkable cultural and historical treasure.
Yngve Svalander studied at the Crafts Society School, Academy of Arts and also abroad. He worked primarily as a draughtsman and graphic artist and was a cartoonist since 1950 for the newspaper Upsala Nya Tidning.
He created "Kajan" (the Jackdaw) which in 1962 began delivering a daily comment on the causerie page. The inspiration came from the jackdaws that flew around the cathedral towers. This bird became the hallmark of the newspaper and was published for more than 24 years, six days a week.
Svalander has also illustrated several books, such as Tore Vretmans Menu (1956) and published the storybook The balloon trip.
Yngve Svalander is represented in H.M. King Gustav VI Adolf's collection, Uppsala University Library and Borås Museum.
Anna-Lisa Thomson studied at the Higher School of Art and Design in Stockholm from 1924 to 1928 and then in Italy, Austria, Prague and Dresden.
Between 1928 – 1933 she worked at S:t Eriks ' factory in Uppsala and designed tea sets in green glazes and ceramic objects with Reliefdekor. In the middle of the 1930 century Thomson came to Upsala Ekeby and worked there all his active life.
Primarily, Thomson created art goods in various ceramic materials with clean, often nature-inspired, decorative elements. Among the most famous works are the Vase Paprika (1948) which was performed in various shapes and sizes and the urn Lancet (1949). Thomson is represented at the National Museum and several other museums.
She also painted, and the works were often nature inspired with motifs from the west Coast where she spent parts of the year. Posthumously, the book echoed by days of Light Timbre (1953) with poems and illustrations by Anna-Lisa Thomson was published.